where the water moves, where it rests
Curated by Kimberley Moulton AUGUST 18 - DECEMBER 20, 2015
Curator’s Walk and Talk Thursday, August 20, 5:30 pm Djambawa Marawili Artist Residency October 25 - November 7
ACKNOWLEDGMENTS Australia Council for the Arts Buku-Larrnggay Mulka Center Djambawa Marawili AM Kimberley Moulton Maria T. Kluge National Gallery of Australia Wesfarmers
Kluge-Ruhe Aboriginal Art Collection Collins Sydney Natural ochres on eucalpytus bark. Photo by , 2015, of the University of Virginia
400 Worrell Drive, Charlottesville, VA 22911 Yathikpa [email protected] | www.kluge-ruhe.org 434.244.0234
Tuesday - Saturday, 10 am - 4 pm & Sunday, 1 - 5 pm Free guided tour every Saturday, 10:30 am jambawa Marawili, COVER: D COVER: where the water moves, where it rests
1 Djambawa Marawili AM: CHANGE AGENT DJAMBAWA MARAWILI AM By Kimberley Moulton, Yorta Yorta Djambawa Marawili AM is an acclaimed artist and leader of his clan the Madarrpa of the Yolngu People of northeast Arnhem Land. He is a principal ceremonial “To be free is to be able to question the way power is exercised, disputing claims to leader and a land and sea rights activist leading the 2008 domination. Such questioning involves our ethos, our ways of being or becoming successful sea rights claim. In 1996 he won the Telstra who we are. To be free we must be able to question the ways our own history National Aboriginal and Torres Strait Islander Art Award defines us.” for the Best Bark Painting, and his work is held in the - Gordon Bennett collections of many major Australian museums, as well as many esteemed private collections. He is a painter, a sculptor and a print maker who has pioneered new Djambawa Marawili AM creates art work that is more than just bark paintings; it aesthetics and been monumental in the development is an expression of culture, of truth and of freedom. His work is a commanding and mentor-ship of other Yolngu artists.In 2013 he was manifestation of cultural knowledge and a physical materialization of sovereignty. chosen by the Australian Prime Minister as a member This intrinsic belonging to country and cultural ways of being have been handed of the National Indigenous Advisory Panel and most down by his Ancestors from time immemorial. These Ancestors and their recently was invited to participate in the Istanbul knowledge continue to live and breathe through the land, and through descendents Biennale. Djambawa is a leader in the interface between like Djambawa who create powerful and contemporary expressions of this cultural non-Aboriginal and Yolngu people of Arnhem Land. history.
The artwork of Djambawa is one KIMBERLEY MOULTON “...This country important aspect of the role he plays has the stories. within his own community and as one of Kimberley Moulton is a Yorta-Yorta woman who has Australia’s greatest leaders. He defines spent the past six years as the Project Officer and And those stories his own identity and the way in which Curator of the Birrarung Art Gallery a space of the stories are passed down through his Bunjilaka Aboriginal Cultural Centre at Melbourne were there from individual design on bark, ensuring that Museum. An emerging leader and mentor in the his voice and the voices of his people are Australian visual arts, she was recently a judge for beyond, from our heard, and respected. A senior leader the 2015 Western Australia Indigenous Art Awards and cultural care-taker of his clan, the and is the inaugural recipient of the Wesfarmers Ancestors to us, our Madarrpa of the Yolngu (Aboriginal) International Indigenous Curatorial Fellowship with people of northeast Arnhem Land, the National Gallery of Australia.She is an alumni Grandfathers to our Djambawa is a ceremonial leader and of the Wesfarmers Indigenous Leadership Program facilitates ceremonies from initiation and the British Council ACCELERATE Program. Fathers and to us.” through to death. He is also an activist, Kimberley is currently combining a post-graduate a political and social visionary and a diploma in Indigenous Studies and a Masters of Arts Djambawa Marawili AM mediator between the Yolngu and the Curatorship at the University of Melbourne. rest of the world. He paints where the salt water meets the fresh water and all that runs between. He paints where the salt water and the fresh water meet, his voice is carried on the waves and sung to the stars, out past the sacred rocks and onto the rest of the world. “Every individual’s name is a special name representing country. Country is where the flood waters rush by and become one. It is that, now we are telling you. Also the rocks. Rocks that the country holds. Where the water moves...where it rests”. i Bennett, G. In ‘Notes to GB’ exhibition room brochure, Sutton Gallery, Melbourne. 2014. ii Marawili, D. in Djalkiri, We Are Standing On Their Names catalogue. Buku-Larrngay Mulka Centre, 2010. iii Alfred, T. (2005) Wasase. Indigenous Pathways of Action and Freedom. Peterborough, ON. Broadview Press. iv Marawili, D. Declaration in ‘Saltwater: Recognition of Sea Country: The Recognition of Indigenous Sea Rights’. Buku-Larrngay Mulka Centre, Isaacs. J and Associates. 1999. Pg 14. v ibid.
Garrangali, 2010, Etching and screenprint.
Yathikpa, 2015, Natural ochres on eucalpytus bark Djambawa’s works are technically exquisite reflections of culture that retain a fluidity: they hang beyond the white cube while also sitting very comfortably within it. Collected and exhibited in many major galleries and museums across the world, the work generously shares the strength and complex layers of Madarrpa culture. Djambawa’s paintings also sit on Yolngu Country at the Buku- Larrnggay Mulka Arts Centre in Yirrkala, and in situ on the walls, serve as silent teachers of culture for future generations.
“I want people to understand it’s not just a colourful or beautiful show of paintings “Whose country but it has meaning and is a document of my are you on at this country.” - Djambawa Marawili AM moment? Indigenous people have a birthright and inherent belonging to the land; this Peel back the sovereignty transnational to Indigenous peoples across the globe. As one connects concrete veneer, with the stories in Djambawa Marawili’s work, his message can evoke reflection of the colonial positionality within space and the landscape - whose country are you on at this moment? rotundas and the Peel back the concrete veneer, the colonial fast food chains rotundas and the fast food chains and gas stations to feel the footprints of the First and gas stations Peoples that walked before the land was colonized. People continue to maintain, to feel the respect and card for land and each other, as they have for thousands of years. While First footprints of the Peoples may appear to be physically absent or displaced within the landscape, the First Peoples that presence and sovereignty of these people will always remain and cannot be washed walked before away with the tide of history. the land was The leadership of Djambawa Marawili and the messages within his work connect colonized.” beyond his country to educate and inspire change. Yathikpa, 2015, Natural ochres on eucalpytus bark Djambawa has been a strong advocate for changing the ‘status quo’ of what His work firmly places the living culture of Yolgnu people in the here and now and Yolngu art should and can be. Stepping outside of convention, he has created has been a monumental influence for other Aboriginal artists from the region a unique diamond pattern that honors law and culture but conceptually moves since the mid-1990s, mentoring and developing talents and in turn creating new beyond a general ‘traditional’ method of telling story. Flowing chains of aesthetics. He changed formal compositions to express his stories in visually diamonds in ochre move across the bark paintings, telling stories of Baru the ground-breaking new ways, pioneering a new aesthetic. His artwork does not crocodile, the bringer of fire. Hypnotising swirls of the water where Burri’tji the sit within the historical past; it is informed by Ancestral story and collective rainbow lightning serpent lives and waits to spit lighting into the sky creates memory while at the same time making sense of the complexities of Aboriginal optical illusions. The sacred areas of water and land come to life in complex cultures in a colonized land. His work embodies Madarrpa culture and strongly layers of pattern and color. speaks to grand narratives of sovereignty, Aboriginal rights, identity and the de-colonization of Balanda (white) viewpoints. These themes are integral to The fire that is carried by Baru burns the current discourse of contemporary Australian Aboriginal and Torres Strait strong and ignites Djambawa’s Islander art. passion for freedom and self- determination, activating political Canadian Aboriginal Professor Taiaiake Alfred states that “De-colonisation is change and highlighting the bond a process of discovering the truth in a world created out of lies. It is thinking to culture. His art also speaks through what we think we know to what is actually true but is obscured by to a global audience and as a knowledge derived from experiences as colonised peoples...our struggle is with contemporary artist his works move all forms of political power, and to this fight, we bring our only real weapon: the in and out of, and challenge, western power of truth.” ideologies of what is ‘contemporary’ and what is ‘traditional’ Aboriginal Djambawa Marawili’s art acts as ‘evidence’ and holds a truth that could sit art. While Djambawa’s artwork fits alongside any book or with any western epistemology in the world. Djambawa’s into what people would generally works have been used as historical record for decades in the legal fight forYolngu conceive of what Aboriginal art land rights and recognition. He used bark painting as a tool in the Yolngu Sea should look like, his practice extends Rights claim of 2004, which he coordinated with his community. Their success ideas of what the ‘traditional’ at the High Court of Australia in 2008 determined that Yolngu people did in fact aesthetic is in his region to include a own the land between the high and low water mark in Blue Mud Bay in northeast new conceptual form for expressing Arnhem Land. His art is an active method of teaching and de-colonising western culture. Design and representation systems of understanding. are re-envisioned, and yet continue to represent the living culture and Djambawa’s bark paintings hold immense presence, and are symbolic of the story that is rooted in the Ancestral inherent link between person, sea and land, there is no separation of the three. ‘beginning,’ or as the Yolngu call it This informs the everyday life and political realities of the Yolngu, as Djambawa
Wangarr, the time before the first Baru at Yathikpa, 2015, Natural states; “our intellectual knowledge exists in the fresh water and becomes one in morning. ochres on eucalpytus bark the salt water.” Djambawa has been a strong advocate for changing the ‘status quo’ of what His work firmly places the living culture of Yolgnu people in the here and now and Yolngu art should and can be. Stepping outside of convention, he has created has been a monumental influence for other Aboriginal artists from the region a unique diamond pattern that honors law and culture but conceptually moves since the mid-1990s, mentoring and developing talents and in turn creating new beyond a general ‘traditional’ method of telling story. Flowing chains of aesthetics. He changed formal compositions to express his stories in visually diamonds in ochre move across the bark paintings, telling stories of Baru the ground-breaking new ways, pioneering a new aesthetic. His artwork does not crocodile, the bringer of fire. Hypnotising swirls of the water where Burri’tji the sit within the historical past; it is informed by Ancestral story and collective rainbow lightning serpent lives and waits to spit lighting into the sky creates memory while at the same time making sense of the complexities of Aboriginal optical illusions. The sacred areas of water and land come to life in complex cultures in a colonized land. His work embodies Madarrpa culture and strongly layers of pattern and color. speaks to grand narratives of sovereignty, Aboriginal rights, identity and the de-colonization of Balanda (white) viewpoints. These themes are integral to The fire that is carried by Baru burns the current discourse of contemporary Australian Aboriginal and Torres Strait strong and ignites Djambawa’s Islander art. passion for freedom and self- determination, activating political Canadian Aboriginal Professor Taiaiake Alfred states that “De-colonisation is change and highlighting the bond a process of discovering the truth in a world created out of lies. It is thinking to culture. His art also speaks through what we think we know to what is actually true but is obscured by to a global audience and as a knowledge derived from experiences as colonised peoples...our struggle is with contemporary artist his works move all forms of political power, and to this fight, we bring our only real weapon: the in and out of, and challenge, western power of truth.” ideologies of what is ‘contemporary’ and what is ‘traditional’ Aboriginal Djambawa Marawili’s art acts as ‘evidence’ and holds a truth that could sit art. While Djambawa’s artwork fits alongside any book or with any western epistemology in the world. Djambawa’s into what people would generally works have been used as historical record for decades in the legal fight forYolngu conceive of what Aboriginal art land rights and recognition. He used bark painting as a tool in the Yolngu Sea should look like, his practice extends Rights claim of 2004, which he coordinated with his community. Their success ideas of what the ‘traditional’ at the High Court of Australia in 2008 determined that Yolngu people did in fact aesthetic is in his region to include a own the land between the high and low water mark in Blue Mud Bay in northeast new conceptual form for expressing Arnhem Land. His art is an active method of teaching and de-colonising western culture. Design and representation systems of understanding. are re-envisioned, and yet continue to represent the living culture and Djambawa’s bark paintings hold immense presence, and are symbolic of the story that is rooted in the Ancestral inherent link between person, sea and land, there is no separation of the three. ‘beginning,’ or as the Yolngu call it This informs the everyday life and political realities of the Yolngu, as Djambawa
Wangarr, the time before the first Baru at Yathikpa, 2015, Natural states; “our intellectual knowledge exists in the fresh water and becomes one in morning. ochres on eucalpytus bark the salt water.” Djambawa’s works are technically exquisite reflections of culture that retain a fluidity: they hang beyond the white cube while also sitting very comfortably within it. Collected and exhibited in many major galleries and museums across the world, the work generously shares the strength and complex layers of Madarrpa culture. Djambawa’s paintings also sit on Yolngu Country at the Buku- Larrnggay Mulka Arts Centre in Yirrkala, and in situ on the walls, serve as silent teachers of culture for future generations.
“I want people to understand it’s not just a colourful or beautiful show of paintings “Whose country but it has meaning and is a document of my are you on at this country.” - Djambawa Marawili AM moment? Indigenous people have a birthright and inherent belonging to the land; this Peel back the sovereignty transnational to Indigenous peoples across the globe. As one connects concrete veneer, with the stories in Djambawa Marawili’s work, his message can evoke reflection of the colonial positionality within space and the landscape - whose country are you on at this moment? rotundas and the Peel back the concrete veneer, the colonial fast food chains rotundas and the fast food chains and gas stations to feel the footprints of the First and gas stations Peoples that walked before the land was colonized. People continue to maintain, to feel the respect and card for land and each other, as they have for thousands of years. While First footprints of the Peoples may appear to be physically absent or displaced within the landscape, the First Peoples that presence and sovereignty of these people will always remain and cannot be washed walked before away with the tide of history. the land was The leadership of Djambawa Marawili and the messages within his work connect colonized.” beyond his country to educate and inspire change. Yathikpa, 2015, Natural ochres on eucalpytus bark He paints where the salt water and the fresh water meet, his voice is carried on the waves and sung to the stars, out past the sacred rocks and onto the rest of the world. “Every individual’s name is a special name representing country. Country is where the flood waters rush by and become one. It is that, now we are telling you. Also the rocks. Rocks that the country holds. Where the water moves...where it rests”. i Bennett, G. In ‘Notes to GB’ exhibition room brochure, Sutton Gallery, Melbourne. 2014. ii Marawili, D. in Djalkiri, We Are Standing On Their Names catalogue. Buku-Larrngay Mulka Centre, 2010. iii Alfred, T. (2005) Wasase. Indigenous Pathways of Action and Freedom. Peterborough, ON. Broadview Press. iv Marawili, D. Declaration in ‘Saltwater: Recognition of Sea Country: The Recognition of Indigenous Sea Rights’. Buku-Larrngay Mulka Centre, Isaacs. J and Associates. 1999. Pg 14. v ibid.
Garrangali, 2010, Etching and screenprint.
Yathikpa, 2015, Natural ochres on eucalpytus bark Djambawa Marawili AM: CHANGE AGENT DJAMBAWA MARAWILI AM By Kimberley Moulton, Yorta Yorta Djambawa Marawili AM is an acclaimed artist and leader of his clan the Madarrpa of the Yolngu People of northeast Arnhem Land. He is a principal ceremonial “To be free is to be able to question the way power is exercised, disputing claims to leader and a land and sea rights activist leading the 2008 domination. Such questioning involves our ethos, our ways of being or becoming successful sea rights claim. In 1996 he won the Telstra who we are. To be free we must be able to question the ways our own history National Aboriginal and Torres Strait Islander Art Award defines us.” for the Best Bark Painting, and his work is held in the - Gordon Bennett collections of many major Australian museums, as well as many esteemed private collections. He is a painter, a sculptor and a print maker who has pioneered new Djambawa Marawili AM creates art work that is more than just bark paintings; it aesthetics and been monumental in the development is an expression of culture, of truth and of freedom. His work is a commanding and mentor-ship of other Yolngu artists.In 2013 he was manifestation of cultural knowledge and a physical materialization of sovereignty. chosen by the Australian Prime Minister as a member This intrinsic belonging to country and cultural ways of being have been handed of the National Indigenous Advisory Panel and most down by his Ancestors from time immemorial. These Ancestors and their recently was invited to participate in the Istanbul knowledge continue to live and breathe through the land, and through descendents Biennale. Djambawa is a leader in the interface between like Djambawa who create powerful and contemporary expressions of this cultural non-Aboriginal and Yolngu people of Arnhem Land. history.
The artwork of Djambawa is one KIMBERLEY MOULTON “...This country important aspect of the role he plays has the stories. within his own community and as one of Kimberley Moulton is a Yorta-Yorta woman who has Australia’s greatest leaders. He defines spent the past six years as the Project Officer and And those stories his own identity and the way in which Curator of the Birrarung Art Gallery a space of the stories are passed down through his Bunjilaka Aboriginal Cultural Centre at Melbourne were there from individual design on bark, ensuring that Museum. An emerging leader and mentor in the his voice and the voices of his people are Australian visual arts, she was recently a judge for beyond, from our heard, and respected. A senior leader the 2015 Western Australia Indigenous Art Awards and cultural care-taker of his clan, the and is the inaugural recipient of the Wesfarmers Ancestors to us, our Madarrpa of the Yolngu (Aboriginal) International Indigenous Curatorial Fellowship with people of northeast Arnhem Land, the National Gallery of Australia.She is an alumni Grandfathers to our Djambawa is a ceremonial leader and of the Wesfarmers Indigenous Leadership Program facilitates ceremonies from initiation and the British Council ACCELERATE Program. Fathers and to us.” through to death. He is also an activist, Kimberley is currently combining a post-graduate a political and social visionary and a diploma in Indigenous Studies and a Masters of Arts Djambawa Marawili AM mediator between the Yolngu and the Curatorship at the University of Melbourne. rest of the world. He paints where the salt water meets the fresh water and all that runs between. where the water moves, where it rests
Curated by Kimberley Moulton AUGUST 18 - DECEMBER 20, 2015
Curator’s Walk and Talk Thursday, August 20, 5:30 pm Djambawa Marawili Artist Residency October 25 - November 7
ACKNOWLEDGMENTS Australia Council for the Arts Buku-Larrnggay Mulka Center Djambawa Marawili AM Kimberley Moulton Maria T. Kluge National Gallery of Australia Wesfarmers
Kluge-Ruhe Aboriginal Art Collection Collins Sydney Natural ochres on eucalpytus bark. Photo by , 2015, of the University of Virginia
400 Worrell Drive, Charlottesville, VA 22911 Yathikpa [email protected] | www.kluge-ruhe.org 434.244.0234
Tuesday - Saturday, 10 am - 4 pm & Sunday, 1 - 5 pm Free guided tour every Saturday, 10:30 am jambawa Marawili, COVER: D COVER: where the water moves, where it rests
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